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中国书画是书在前而画在后,古人对书法作品的收藏较之今人是更为推崇的。如早在书法体系已臻完备的唐代,皇家就开始广罗天下法书,唐太宗李世民甚至会将自己深爱的王羲之名迹《兰亭序》带入墓中,陪伴自己到另一个世界,爱书之深可见一斑,整个社会也上行下效。加之在古代,书法的实用性又非常强,文人士大夫及欲取功名者,都要练就一手好字,因此对书法的审美欣赏非常普及,如孙过庭就曾著《书谱》论之。而这时的绘画科目体系和技法尚不完备,绘画主要用于记事和助人伦、成教化宣传的配图,而非纯审美欣赏,故绘画尚不是主流,在收藏上不能与书法相抗衡。
Chinese painting and calligraphy is the book in front of the painting, the ancients calligraphy collection is more respected than today. As early as the calligraphy system has been completed in the Tang Dynasty, the Royal began to entertain world law, Tang Shizong Li Shimin even his beloved Wang Xizhi’s famous “Orchid Pavilion” into the tomb, to accompany oneself to another world, love The book can be seen deep, the entire community also up and down. In addition, in ancient times, the practicability of calligraphy was very strong. The literati, doctor and practitioner who want to win the fame and fortune should practice good writing. Therefore, the aesthetic appreciation of calligraphy is very popular. For example, Sun Chaotian used to have the book theory . At this time, the subject system and techniques of painting are not yet complete. The painting is mainly used for memo and helprenlency, as well as the distribution of enlightenment and propaganda, rather than pure appreciation of aesthetics. Therefore, painting is not the mainstream and can not compete with calligraphy in collection.